Flint Institute of Arts fiamagazine SEPT–OCT 2011 from the director 2 Board of Trustees Samuel M. Harris exhibitions 3–5 President Katharine W. Eiferle acquisition 6 First Vice-President Ayman Haidar donor profile 7 Second Vice-President Administration Marilyn Kopp John B. Henry, III art on loan 8 Secretary Director Diane Lindholm Michael A. Melenbrink video gallery 9 Treasurer Assistant Director of Finance & Administration calendar 10 Elizabeth S. Murphy Immediate Past-President Kathryn K. Sharbaugh Michael J. Behm Assistant Director of films 11–12 Development Susan Steiner Bolhouse Michael D. Martin news & programs 13–20 Eleanor E. Brownell Coordinator of Collections James D. Draper & Exhibitions art school 21–22 Shannon Easter White Monique M. Desormeau Curator of Education education 23–26 Chris Flores Jeff Garrett Arminda Garcia Assistant Director membership 27–32 Mona Hardas of the Art School Armando Hernandez contributions 33–34 Chris Kelly, Jr. art sales & rental gallery 35 Christopher S. Kelly, Sr. Linda LeMieux founders travel 36 Robert S. Piper Marcus Randolph museum shop 37 Michael Rucks Ira A. Rutherford Clinton A. Sampson Grayce Scholt Phyllis Sykes David T. Taylor D.J. Trela Karen Williams Weaver contents Dean Yeotis Honorary Trustee Cover Image Elizabeth Neithercut From the exhibition Quilting Traditions: The Art of the Amish Broken Star (detail) sateen & cotton, 1920–30 83 x 82 inches Collection of Marsha & Thomas French Photo: Gary j. Kirksey, Larry Hamel Lambert, & Sam Girton. Courtesy of the Dairy Barn Arts Center. FROM THE DIRECTOR 2 Summer is almost over and, to visitor to the range of opportunities those of you who have been away, in the art market, develop welcome back. We have been busy connoisseurship, and add important planning a year of exciting exhibitions, works of art to Flint area collections. programs, and events that I’m On October 9, 2011, you are sure you will enjoy. A stellar lineup invited to attend the opening of of acclaimed films, distinguished several newly renovated spaces speakers, talented artists, and unique within the museum. The FIA’s events for adults and families have been planned to excite and entice everyone. This year our exhibitions and programs place special emphasis on collectors, collecting, and collections. The FIA’s collection of more than 8,000 objects was formed, in large part, from gifts of art and purchase funds donated by collectors. To highlight the importance of donors to collection development, this issue of the FIA Magazine introduces a new extensive collections of ceramics, feature profiling individuals who have glass, jade, ivory, and textiles have made a significant gift. Last year been, for the most part, in storage alone, we added 257 objects in gifts due to the lack of suitable display and purchases. Highlights include areas. These collections now have Neolithic Chinese pottery vessels, a a dedicated gallery that will open Song Dynasty Guanyin figure, a large- with an exhibition on historic and scale sculpture by Dorothy Dehner, contemporary paperweights. We will a 17th Century painting by Dirck van also be opening a relocated Graphics Delen, paintings by Larry Poons and Gallery with an exhibition of works on Ralph Goings, and works on paper by paper by Dutch artist Karel Appel. The Joan Miró, Marc Chagall, and Auguste opening event will include a special Renoir, among others. dedication of the Robert S. and Judy Opening in September, Quilting W. Piper Print Library. Traditions: The Art of the Amish Then, on October 18th, the features a powerful display of 19th- annual Thompson Lecture will feature and 20th-century quilts from a private Graham W. J. Beal, director, president collection. For nearly 30 years, and CEO of the Detroit Institute of Marsha and Thomas French have Arts, who will discuss collecting pursued their interest in Amish art by art in our increasingly virtual age, collecting quilts, many of which will be followed by the unveiling of a gift of exhibited at the FIA. an important bronze sculpture in the Later this year, the FIA’s Art of Hurand Sculpture Courtyard. Collecting returns. This exhibition As you can see, we are gearing includes paintings, drawings, prints, up for an interesting and exciting fall and sculptures on loan —all of which season. Please plan to visit often and are available for purchase—from don’t forget to bring your friends and renowned galleries in New York, neighbors. See you at the FIA. Chicago, and Detroit. The purpose John B. Henry, III of this exhibition is to introduce the Director 3 EXHIBITIONS Quilting Traditions The Art of the Amish from the collection of Marsha & Thomas French 9.10.11 – 11.13.11 Hodge & Temporary Exhibition Gallery Amish women began making quilts together) or appliqué (pieces sewn around 1860 for utilitarian purposes— onto a backing). Traditionally, Amish to keep warm or commemorate quilts from Ohio and Indiana are made important events in their family’s lives. up of piecework. Such practical objects are seen as art because of the patterns, intense The collection presented in this colors, and highly skilled techniques exhibition was assembled by collectors that make them striking visual images. Marsha and Thomas French. Examples Within the rules set by their faith, from the Amish communities in Amish women created quilts that Pennsylvania, Ohio, and Indiana both adhered to tradition and were from the 19th century to the unique expressions of the individual mid-20th century illustrate quilter. The solid colors, geometric the history of Amish quilts patterns, and intricate quilting have and the importance this come to be recognized as outstanding ongoing tradition. characteristics of these quilts. Quilt patterns and color arrangements are usually specific to Amish communities. Ohio quilts are known for their complex arrangement of color on black backgrounds (as in Broken Star, 1920–30; cover image). Quilts from Indiana use more white and light green pieces in a block format. Pennsylvania quilts are known for their large pieces, bold colors, and elaborate quilting. Quilts are usually composed of three layers: 1) the ornamental or top layer; 2) the lining; and 3) the support or bottom layer. Quilting, which is a time-consuming process and an elaborate design in itself, binds these three layers together. The design of the top layer can be created by piecework (small pieces of fabric sewn EXHIBITIONS 4 Members Preview & Lecture Friday, September 9 • 6p Thomas French Guest Lecturer Thomas French will speak about the collection of Amish quilts formed by him and his wife, Marsha. While growing their business and raising their family in Ohio, their awareness of Amish culture developed into an appreciation of their lifestyle, handmade crafts, and the graphic similarities of these objects to modern art. A passionate response to Amish quilts offered for sale at an antique show was the beginning of a nearly 30-year pursuit. As superlative examples were acquired so too were dolls, toys, clothing, sewing accessories, show towels, and furniture. Having been afforded a rare opportunity to amass a collection of well-documented Amish cultural artifacts, Marsha and Tom endeavor to share their knowledge and appreciation of Amish art through exhibitions of their collection. Broken Dishes cotton, 1930 84 x 74 inches Collection of Marsha & Thomas French Photo: Gary j. Kirksey, Larry Hamel Lambert, & Sam Girton. Courtesy of the Dairy Barn Arts Center. 5 EXHIBITIONS Karel Appel The Expression of Color 10.9.11 – 12.4.11 Graphic Arts Gallery Karel Appel (1921–2006) was on Appel and the a founding member of CoBrA mainstream of (from: Copenhagen, Bruxelles, modern art continued Amsterdam), a group formed in 1948 to be of great by experimental northern European importance. Appel artists centered in Paris. The group also created sculpted strove for direct expression unguided works using all kinds by intellect, with an emphasis on of found materials surrealistic motifs. Appel was also (in the technique of strongly influenced by Vincent assemblage), painting van Gogh and the use of rich them in bright colors. primary colors as well as the broad Included in this exhibition are several brushstrokes of mid-20th-century prints from the FIA’s collection as well Expressionist painters. Though CoBrA as a selection of wall sculptures from disbanded in 1951, its influence the Kresge Art Museum. Captured in Glass Historic & Contemporary Paperweights 10.9.11 – 6.10.12 Decorative Arts Gallery Clichy, French Concentric millefiori in Blue and White Stave Basket glass, ca. 1850 1.875 x 2.8125 diameter inches Gift of Mr. & Mrs. William L. Richards, 1969.75.31a COLLECTIONS 6 acquisitions Willie Birch American, b. 1942 Woman Reading Magazine Acrylic and charcoal on paper, 1999 60 x 60 inches Museum purchase, 2011.1 Germán Gárgano Argentinean, b. 1953 Avancé Oil on canvas, 1992 71 x 78.5 inches Gift of the artist, 2011.2 Victor Gomez Cuban, b. 1941 Abstract Series #8 Monoprint on paper, 2010 14.375 x 14.5 inches Gift of Michael Lisi Fine Art, New Karel Appel York, 2011.3 Dutch, 1921–2006 Flower Hand lithograph on paper, 1974 28.125 x 39.75 inches Anonymous gift, 1978.14.3 For its inaugural exhibition, the newly opened decorative arts gallery will present a survey of glass paperweights and related forms of glass from the 19th century to present day. Highlighting different techniques and styles from the most prestigious glass factories in France, Belgium, Great Britain, and the United States, Captured in Glass will include Artist Unknown more than 200 works that represent the Chinese, Song Dynasty, 960–1279 very height of glass-making in both design Seated Guanyin Bodhisattva and fabrication. This exhibition includes Willow wood with traces of original pigment, n.d. paperweights from the FIA’s permanent 39 x 27 x 24.75 inches collection given by Mr.